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The Renaissance embodied a revolution not only in form, but in content. Bellini's Madonna and Child is enlivened by a zesty piece of human theatre: the baby Jesus, anxious to be on his way, raises one leg in a gesture of defiance, a perfect half-scowl etched onto his tiny features.
Hans shows me an invention which magnifies letters for his failing eyes, so that still he may read, so that still the winds may turn the bronze art coins of his perception. Cobweb-like sculptures dream upon some shelves, poetry is the wing of his bird-like speech.
The concept of Catholic Culture Wars is destructive, because it makes truth the slave of power. Its logic can be seen in a recent Quadrant review, which projects onto an art exhibition a preoccupation with the occult and sexually ambiguous.
Over the last year a major chasm has opened between decisions of Australia’s High Court and those of the UK House of Lords and the US Supreme Court regarding issues of national security such as the long-term mandatory detention of stateless asylum seekers.
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